Hvile I Kaos – Agios O Fotiá (2017)

H V I L E   I   K A O S

Agios O Fotiá

2017 Era Horrificus

We are witnessing the rise of a label that, on the one hand, boasts of being led by personel experienced in different spheres of nefarious action on the ground, and that on the other, shows itself selective at both musical and ideological levels. The conjunction of these creates a unique opportunity seldom seen in the history of metal, a genre in which great artistic potential has been squandered by a lack of comprehension of what is being ultimately held in one’s hands. Deathwave Nexion promises to be one of the first loci of mature metal cultivation on North American soil. We see a far-reaching influence and presence stemming from a source that appears more monstruous the more one looks into it. In its train, the opening of mainstream operations by the nexion has brought to our ears the Hvile I Kaos’ first full album —a grand opening indeed.

For precise descriptions, Hvile I Kaos can be considered a chamber music ensemble, the music of which circles around the cello as the main instrument. As per classical tradition, it is indeed the wielder of the central instrument who leads the ensemble. He is as well the composer of these evocative pieces, to which the rest of these talented musicians contribute their own interpretations and idiosyncracies. The music is, to this writer’s amateur ears, modernist acoustic arrangements built on popular and folk melodies, but taken to a singular level of development in composition where they escape their roots and become the means with which the artist carves forth a new path. It is tempting, and perhaps not wholy unjustified to liken this to soundtrack music, although as far as that music goes, the generalizing comment does Agios O Fotiá a great disservice. As one follows the opening ‘populisms’ of the music, a joyous Pagan defiance that summons Life as much as it does Death communicates the unabstracted existence of human beings in a reality that is truly beyond these illusory poles —in reality, states of being distorted by blundering mundane minds.

A hidden, but effective power of manifest action and the bringing about of evil, not in the form of mythology as in the olden days of underground metal when daydreams and blurry visions led the way, but of an accumulated range of experiences that condense into the sonic efluvion that acquires depth by virtue of hindsight into concrete events. While this music is somewhat derivative in terms of expression, and may artistically show an imitative character of pre-established tropes, great acumen is shown in narrative elaboration, attention to detail —not to mention an intense emotional, even psychical, connection to more than simply music: this is art that extols visceral terror. The sensation is not unlike the immediacy and premonition of survival in danger that the neophyte might feel upon repeatedly calling on Shaitan while uttering his name and beholding his sigil. This is the plain, subtle and direct elating sensation of the edge of a cold blade; the living of eternity in moments of unsurpassed focus and clarity through sheer horrific ecstasy.

While one may at the very outset be dismissive of some or all of these works, especially given their surfaces’ blatant resemblance to mainstream cliches and overly-trodden figures of musical speech, the moment one engages the music thoroughly for what it has to say, the soul is carried away. More interestingly, despite any impressions words or claims might make, the character of the music —the marks it leaves on the heart— are of a humble tone. Echoes resound in the sensitive listener that become humbling to them as well, triggering introspection and self-challenge, or at least the heart’s need of it. There is no pretension, but rather just a well of remembrance, of pain from life and individual circumstance. This is true not only of Hvile I Kaos, but also of other projects linked to Deathwave Nexion in one way or another, such as Decieverion and Serpent ov Old , whose music should also be perused delicately to find the grain therein. [1]

Under a thin skin, we see highlighted here as part of the underground brotherhood relations and influences that come to feed the belly of this beast. Revelry and joy, mixed with blood-letting and pain, all in the most vivid possession by unnamed deities given tribute by those who aspire to join their ranks, by those whose minds reminisce of their non-existing past beyond the stars, to which they must strive to return, unto death, beyond death. The present work hints at this evolutionary movement into and across an abyss out of sight —yet beheld just below our quivering senses, resounding at the base of our skulls— in a path the entrance to which bears the mark of Shaitan, and upon which the Initiate fervently wishes to be blessed by the apparition of the Mistress of Blood. [2]

The reader on whose ears these words find a welcome reception, will perhaps take them as a salutary note for those who need no further justification for self-overcoming. As enactment of magick, a sword of death, Hvile I Kaos’ present, and hopefully its future, work has a transformative effect over those capable of raising themselves above themselves. Let its passionate music fill your heart, listener; let its muliebrial spectre haunt your wake and your dream, seeker. I for one never cease to long for its embrace.

Notes

[1] Recommended works: Decieveiron – Decieverion (2012); and Serpent ov Old – Withering Hope (2012). We must also emphatically commend the new single by Serpent ov Old in 2018, a preview of their next album to be published through Deathwave Nexion. The band has ascended through their own style to a new stage of coalesced beauty and virtuousic emotionality tempered by its dignified adoption of black metal.

[2] Baphomet – An Esoteric Signification : https://wyrdsister.wordpress.com/2018/07/13/baphomet-an-esoteric-signification/

31 Comments

Tags: , , ,

Statement from DEATHWAVE NEXION Record Label and Publishing House [MMXVIII E.H.]

D.A.R.G. : the statement below came to us from the leadership of Deathwave Nexion, and is published here as part of our continued support of outstanding music by people fostering genuinely dark philosophy through adversarial action.

Statement from DEATHWAVE NEXION Record Label and Publishing House:

Whilst remaining largely driven to the release of Neoclassical, Electronic and Ambient records, as detailed in the past and present efforts, our nexial decision to begin incorporating Heavy Metal bands into our cadre has come with no easy discernment. Purposefully aimed at quality over quantity, we have thus far approached or have been approached by artisans who we can collectively say are ‘masters of their craft,’ and no such lower tier of delivery should be permissible if our full weight of promotion and esoteric pairing are to be present.

We have selected a small group of individuals, each with their own sublets from which they are respective champions, but maintaining a shared lineup throughout. These are: DECIEVERION, a classic Black Metal act from Pennsylvania, and no stranger to the nightspirits of yesteryear; SHADOWS IN THE CRYPT, a ‘Sinister Cult’ from Pennsylvania whose sole purpose is to create the most menacing, hate-driven anthems of Devildom, and SERPENT OV OLD, the masterful effusion of many-years of learning through hardships and grief.

These three bands share one common thing among themselves: the members, whose efforts in the genre of North American Black Metal, and especially that which has thrived within the tri-state area, has existed and proliferated independent of genre-trends, subcultural infiltration or consumer interest. Nay, this Unholy Trinity has been, each respectively the bastions of inspiration, and each collectively, the circle of tradition, from which in the darkest times of the Black Metal genre’s foolery, have held down the fort for all of those whom have stayed pledged in allegiance to the dark.

What then separates the efforts of some small, underground, virtually invisible label, and its venture into the metal genre, from any other plastic theater? It is the fact that these “musicians,” are not just that, they are each individually, archetypes of the new aeon. The personnel surrounding the groups in question are antibodies within the mundane superstructure. Given to paths of sharp-living, recognizing no law, and no authority – foregoing the “normal” life which is emblazoned on the armbands of every reactionary, neo-Neckbeard; these are real criminals. They are dedicated to the dark deeds of the devil. In this, their journey towards restoration of principles once commonplace in Black Metal might yet see a renaissance, and in their seedings, might a new prototype of individual arise to stand before the failing species of man.

A New Sample Track from SERPENT OV OLD (2018 via Deathwave Nexion)

Many thanks to D.A.R.G. for the continued support and camaraderie, to S.R. Prozak and the Hessian stratosphere, and for their journalism, which has intersected with our work in the past, and with any luck will continue to in the future.

Julvarg
Deathwave Nexion
2018 Era Horrificus

15 Comments

Tags: , , ,

Fanisk: 2002-2013

Article by Doron Rosenberg

It would certainly not be far from the mark to say that Fanisk are the crowning achievement of “NSBM.” The limits reached by Eldrig’s sublime compositions, tempered by the conceptual direction given by Vitholf, far exceeded anything that came either from the “NS” or the “US” camps, altogether escaping the cliched definitions of either. That is, as music, Fanisk fits neither of the pseudo sub-genres in quesion, and only belongs to either by dint of their ideological sponsoring and geographical location. (more…)

20 Comments

Tags: , , , , , ,

Arbeit macht frei


Article by Doron Rosenberg

“Work will make you free,” no more truthful beautiful statement has been made and set into action. The fact that the original intent and its whole meaningfulness has been swallowed up by propaganda and lies is a different matter altogether. Whatever the case, it is clear that it is only through work, by accomplishing goals that entail results, that we are able to gain power and influence, and thus an increased ‘freedom’ of action. This is true in each and every case, where the work done does indeed impact those performing it by returning a certain value.
(more…)

12 Comments

Tags: , ,

Kristallnacht – Blooddrenched Memorial 1994-2002 (2006)

Article by Doron Rosenberg

The present is the final compilation of all music released by “NSBM” band Kristallnacht. The importance of this release lies entirely on the fact that it is one of the few acts coming from said ideological background with any artistic merit at all. That said, Kristallnacht was always a band of modest musical means, making up for it with a subtle talent for suggestive melodies in lullaby-like triplet feels. As is “tradition” within these circles, the music aims at the formation of axis between melancholic longing, mystic elevation and disenfranchised anger. These are deeply connected to point of origin of everything that underlies the movement, explaining the very limited, usually embarrassingly poor resulting art —to which projects like Kristallnacht or Fanisk are an exception.
(more…)

5 Comments

Tags: , , , ,

Kataxu – Hunger of Elements (2005)

Kataxu play a style of black metal in which the keyboards appear to lead, while the guitars follow a complementary role that enhances and sustains. In maintaining activity in the melodic movement of the phrases, and a distinct harmonic progression between sections, Kataxu avoids relaxing on the guitar riffs avoiding a meandering feeling that is common to bands utilizing this type of approach. Guitars in distorted power chords are always behind the keyboards in the mix, but are given prominence in between sections or in certain passages in ways that enrich textural variety accross the pieces. Percussion is ever present, but one can rather sense their bulk in the spectrume, rather than actually hear drum patterns.
(more…)

6 Comments

Tags: , , , ,

Vargavinter – Frostfödd (1996)

A single-release project from Sweden, Vargavinter play a style of black metal that could accurately be described as melodic and ‘ripping’, ‘pagan’ and ‘symphonic’ without falling into any of those narrow misnomers. By holding its influences together into a pointed lance-tip, the music is able to maintain a dignified character as it preserves a certain aggression. The driving, aggressive impetus is able to stand even major chord progressions without disassembling its unitary momentum into constituent mediocrity.  When such disintegration takes place, subpar passages arise, and the music is no longer black metal, but ‘pagan’ or ‘progressive’, for instance. This process entails a frequent alternation of outstanding and mediocre moments in Frostfödd which make of it a tragedy.
(more…)

1 Comment

Tags: , , , , ,

A first step: MMXVIII eh

A triumphant first month has just elapsed, and our current team has been able to capitalize on all the effort and work that Brock Dorsey put introducing and maintaining a more structured internal protocol. By now, besides reviews focused on excellence and constructive highlighting, we have designed different series of articles, with more technical and didactic material in the works to propagate the know-how and philosophy for a dark artistry, rather than musical entertainment or sportsmanship.
(more…)

10 Comments

Tags: , ,

An Exercise in Linear Songwriting: Deeds of Flesh “End of All”

Although most likely viewed as a mere footnote in the immense catalog of Deeds if Flesh, “End of All” from Inbreeding the Anthropophagi is deceptive in that its brief run time and violent introduction mask the fact that it may be one of the only instances in truly linear songwriting present in the metal genre. Having heard the song countless times since its release but still not fully grasping the nuances of its composition, I decided to figure out how it’s played only to realize that aside from one brief moment where a segment of a phrase is repeated, there are no repeats of any kind in the song either regarding whole riffs or portions of melody. It had still somehow become a track that had tangible substance despite there being so little to retain in one’s memory, so I made a video of a playthrough of the track to point out what exactly is happening to give the song resonance where typical structuring would normally provide support. (more…)

8 Comments

Tags: , , ,